“We’re revisiting some,” she told me. “We did a pre-historic one and one act came on as a prehistoric rock. He took ages to get to the stage.”

When we chatted, she was with Gemma Arrowsmith. They are previewing their separate new Edinburgh Fringe shows as part of a double bill at the trendy Proud Archivist in London this Tuesday. The two met at Free Fringe venue Le Monde in Edinburgh in 2012.

Gemma (left) and Susan at The Actors Centre in London

“This year,” Gemma told me, “I’m operating my own sound in Edinburgh; my techie will just do lights. I saw Ivan Brackenbury – Tom Binns – do everything himself and I think it was seeing that which inspired me to do it myself.”

Susan chipped in: “I saw Michael Brunström do that recently. He was being Mary Quant for Cabarera! and he was operating the sound of whales noises because it was Mary Quant who went whaling, obviously.”

“Obviously,” I said. “Can we recap? Whaling? He was being Mary Quant?”

“It was for the 1960s night,” explained Gemma, then asked Susan: “Who were you that night?”

“I can’t remember,” said Susan.

“That sounds like a very realistic 1960s night,” I suggested.

“Andy Warhol,” said Gemma.

“Yes, Andy Warhol,” said Susan.

“What did you do with your hair?” I asked Susan.

“I emerged from a soup can,” said Susan.

“I still want to know what you did with your hair,” I told her.

“A wig,” she replied.

“But you have an awful lot of hair,” I said, enviously.

“Well,” explained Susan, “if you’re a character actress and you have long hair, you get used to wig caps.”

“I suppose,” I said, “once you’ve played a horse with unicorn aspirations, you can play anything… You’re both actresses, really.”

“I think we’re both obsessed with comedy,” said Susan, “and have been since we were little.”

“Recently,” said Gemma, “I had to get rid of my enormous comedy collection to the Museum of Comedy. It was getting out of hand. Absolutely ridiculous. I started collecting comedy when I was 10 and, by the time I was 12, I had 500 VHS tapes. So you can imagine what it was like by 32… VHSs, books, scripts, book tie-ins. Getting things signed as well. Going to see Ben Elton, Jack Dee, Hale and Pace. I saw Hale and Pace at the Wolverhampton Civic when I was about 13. They were amazing.”

“I think,” said Susan, “they’re much-maligned because they were on ITV, not BBC.”

“I’m guessing,” I said, “that you have traditional medicine people in your family…”

“No,” said Gemma, “I just have a hatred of nonsense. I was in a double-act with a guy called Steve Mould for a long time. We did a trilogy of shows in Edinburgh and Steve got me interested in science. I did a video for a charity called Sense About Science and their Ask For Evidence campaign, which means, if anyone makes a bold claim, you should ask for evidence.”

“I go down the Fortean Times route,” I said, “where you just accept anything, unless…”

“Surely,” argued Gemma, “Don’t believe anything until you can prove it should be how you look at things?”

“But,” I said. “if you don’t disbelieve anything, there’s some tremendous fun to be had. I think they mostly don’t believe most of it. They used to have annual UnConventions. Do you remember the supposed alien autopsy film? The newspapers had been talking to doctors for months to prove it was a fake. Fortean Times flew over two movie special effects men from Hollywood who immediately explained how it had been faked.”

Susan as Jennie Benton: Wordsmith

“My show,” said Susan, “is called Jennie Benton: Wordsmith and it’s about a character I’ve done on the circuit and in sketch shows for years.”

“Does the horse appear?” I asked.

“Unfortunately not,” Susan replied.

“She could appear as a pot of glue,” I suggested.

“That’s harsh,” said Gemma.

“There is a line about glue in it,” said Susan, “but it’s not about her. This show is all about two 15-year-olds who are really into spoken word and hip-hop. At the moment, the other act is Richard Soames from the Beta Males. Basically, he’s in love with her and she’s in love with her teacher and it’s all about unrequited love.”

“And the object of appearing at Edinburgh,” I asked, “is to get commissioned by BBC Radio 4?”

“I don’t think those are the aims any more,” Susan told me. “I think the thing with my stuff and podcasting and YouTube is, because you’re making it yourself, you know it’s going to get made – as opposed to sending a script off on a wing and a prayer and getting so far and then it’s Oh, the producer has left and it’s not happening any more. That just happens so many times.

The Susan Harrison hipster Back Row podcast reviewer

“We do a podcast where we play two reviewers. It’s called Susan Harrison’s Back Rowand it’s a bit like BBC Radio’s Front Row. So we are these two hideous reviewers who are… I’m a real hipster reviewer and Gemma’s character is more of a broadsheet reviewer.”

“The point is to create,” said Susan. “It’s just a matter of making something, doing something. I wouldn’t see it as a realistic option to have to be on the radio, because there are so many reasons why people get on there and so much of it is a fluke. There’s no point that being your goal. Your goal should just be to make what you want to make and just keep getting out there and performing.”

Gemma creates Sketches In My Flat

“That’s certainly,” Gemma agreed, “why I started doing my YouTube channelSketches In My Flat. I got home after doing the Edinburgh show in 2012 and decided, purely for fun, to record a few of the sketches in my living room with a budget of zero.

“One of the sketches got re-Tweeted by a few people – Simon Singh, Richard Dawkins – and overnight it was seen by 10,000 people – It was seen by ten times the number of people who had seen my Edinburgh show across the whole month.

“That was on a budget of zero and it makes you think when you know how much you spent on your Edinburgh show. So I decided I would take at least a year out just doing videos on YouTube. I started off doing some of the sketches from the show and then I started making new sketches specifically for YouTube. One of my un-written rules is I don’t spent any money whatsoever on it. Except wigs.

“I did a year of doing a lot of YouTube and then a year of doing… well, it’s put out as a podcast, but it’s like an audio series. And I’ve really enjoyed not going to Edinburgh.”

“So why are you going back this August?” I asked. “Someone once described performing at the Fringe as like standing in a cold shower, tearing-up £50 notes.”

Edinburgh, where there may be gold at the end of the rainbow

“Well, it’s a trade show for comedians,” said Gemma, “but I heard someone recently also describe it as a dog show for comedians.

“I like what Holly Burn said: that basically you just throw a load of shit at a wall. That’s what Edinburgh is – Everybody throwing shit at a wall and hoping that something sticks. Both of us have had a break from Edinburgh and I feel like getting all the shit and throwing it all out there and seeing what comes of it.”

During last month’s show, a very large black man with one eye, a speech defect, a shaven head, a beard and a doctor’s stethoscope round his neck sat in a gold costume alone at a table right in front of the stage occasionally re-arranging half-glimpsed works of art on the surface in front of him. In any other show, he would have been a disruptive distraction but, given Pull The Other One’s unique mix of surreality, alternative variety and downright bizarreness, he actually fitted right in with the show. It turned it into a two-ring circus.

I went to the Half Moon venue in Herne Hill again last night half-hoping the black man and his half-glimpsed mysterious works of art would make a comeback. Alas he wasn’t there. But Charmian Hughes, who had been one of four comperes last month and was one of three comperes last night (look – it works, it adds to the oddness, so don’t ask) told me:

“That man with the stethoscope gave me a picture of a face which is half pharaoh and half enslaved black man. It’s actually really effective and I’ve hung it up. The title is Was my ancestor illegally detained?’’

Charmian had done a sand dance during last month’s show (again, don’t ask).

“He must,” Charmian continued, “have found it quite a strange coincidence that he went to a show on his night off from Egyptology or whatever he’s into and someone started talking about Egypt and the pharaohs and did a sand dance on stage.”

“Well,” I thought, “It wasn’t just him who found it strange.”

Last night, in an unusual move for Pull The Other One, they actually had three straight(-ish) stand-up comics in among real magic from David Don’t, Sam Fletcher’s fake magic, Charmian’s explanation of the Abelard & Heloise story using pandas, Holly Burn’s… well… indescribably odd performances… and the equally odd Nick Sun’s audience-baiting.

Towards the end of his set, Nick Sun persuaded the audience to show their appreciation (and they were very enthusiastically appreciative of his odd act throughout) to boo him and heckle him and he refused to leave the stage except in silence. He took any clapping as inappropriate and refused to leave except to complete silence. A good bit of memorable schtick.

The three stand-ups included the extremely good Maureen Younger, who shamed me. I was then and still am ashamed because I had never seen her perform before and I am amazed I had not seen someone that good. An absolutely top-notch and clearly highly experienced professional. My only excuse is that she seems to have worked abroad a lot. And that’s not much of an excuse. Woe is me. The shame. The shame.

Steve Jameson’s Borscht Belt character act Sol Bernstein – much admired by many – leaves me a bit cold because I have some general problem with watching live character comedy, which brings me on to Simon Munnery, who is on stunningly good form at the moment.

He was introduced as “a legend” which he certainly is, even though his existence is not in question and has been independently authenticated. He has always been extremely good but I have now seen him twice in two weeks and I am very surprised.

It’s rare for a comic to keep getting better. After a lot of experience, a good comic usually reaches a plateau of excellence. You don’t expect him or her to get better and he or she doesn’t have to. They have reached a plateau of excellence. Simon Munnery reached that plateau ages ago but now seems to be getting even better. It’s not that he wasn’t excellent before, but he is even better now.

As I said, I have a blank and difficult-to-explain spot about character comedy and I was never much impressed (though everyone else was) with Simon’s very early character Alan Parker: Urban Warrior.

I’ve always liked Simon as a person but it wasn’t until I saw Cluub Zarathustra at the Edinburgh Fringe in 1994 that I really started to appreciate his act. I thought the subsequent 2001 TV series Attention Scum!slightly watered-down the amazingly admirable nastiness of Cluub Zarathustra.

Simon’s originalcharacter which was OTT with audience-despising Nietzschean superiority and contempt for the audience in Cluub Zarathustra had (it seemed to me) been watered-down into the less-though-still-effective League Against Tedium.

The Attention Scum! TV series (directed by Stewart Lee)was highly original and, legend has it, much disliked by BBC TV executives until it was nominated for the prestigious Golden Rose of Montreux in 2001, at which point they had to feign enthusiastic support despite having already decided not to produce a second series.

Perhaps it was too interesting for them.

Simon’s League Against Tedium and Buckethead character shows were always interesting but sometimes variable – you can see that a man with an orange bucket over his head spouting poetry might partially alienate a more mainstream audience.

I think the less Simon hid behind a character and the more he started to perform as himself (well, as much as any comic does) the better and better and better he became.

In 2003, he contributed to Sit-Down Comedy, the Random House anthology of original writing which Malcolm Hardee and I commissioned and edited to which 19 stand-up comedians contributed short pieces. (Now newly available for download in Apple iBooks for iPad and in a Kindle edition.)

Simon at first submitted Noble Thoughts of a Noble Mind – basically a print version of his 2002 Edinburgh Fringe show which I thought was fascinating. It took me aback that the printed version was even better than the performed version. I think I had seen the hour-long show twice yet, when I read it on the page, I realised I had missed some of the verbal and mental cleverness.

He eventually supplied The True Confessions of Sherlock Holmes, a wonderfully original story. When I read it, it was one of only three times in my life that I have ever laughed out loud while reading a piece of writing (the other two occasions were both Terry Southern books – Blue Movie and one tiny section of The Magic Christian)

Simon wrote The True Confessions of Sherlock Holmes after the publishers of Sit-Down Comedy thought Noble Thoughts of a Noble Mind was too complicatedly experimental. Well, I think they thought it was too original and too intellectual; that’s often a problem with publishers.

And it has always been Simon’s semi-problem. Arguably too clever. Too original.

Until now, quite a lot of his acts – with sections often tending towards performance art – have been slightly hit-and-miss and I think sometimes too dense with intellectual, mental and linguistic cleverness to fully succeed with an only-half-paying-attention mainstream comedy audience. That’s not a criticism of audiences as dim; but sometimes audiences who had not seen Simon perform before were not expecting what they got. You had to pay very close attention.

Last night, there was a gag involving Sisyphus and Icarus which was wonderfully explained, became part of a cluster of linked, overlapping gags and even managed to bring in modern-day, up-to-the-minute economics.

Simon used to be intellectual and much-loved by the Guardian-reading chattering classes of Islington – and he still is. But now he seems to have pulled off the neat trick of losing none of his intellectual content but performing a highly intelligent act which is populist and maintains a uniformity of laughter-making for all audiences.

In other words, he’s bloody funny from beginning to end and has an astonishing act of overlapping, densely-packed gags and observations which in no way dumbs down yet is totally accessible to a mainstream audience.

How he has done it I don’t know, but he has.

I once tried to persuade Simon that we should follow in L.Ron Hubbard’s footsteps and write a book about philosophy which many in the UK would see as a joke but which many in California might read without irony and blindly believe in as a new religion. That way, we could make money now, have a laugh and statues of him might be worshipped in 2,000 years as a God-like figure.

He wasn’t impressed.

Maybe because today many already worship him as a godlike figure in British comedy.

I have seen some bizarre Pull The Other One last-Friday-of-the-month shows at Nunhead in Peckham, South East London, but last night’s must take the nutty biscuit.

It was the first of Pull The Other One’s new first-Friday-of-the-month shows at the Half Moon in nearby Herne Hill and the ghost of Andy Kaufman seemed to have been raised from his grave for the occasion.

It was performance art that would make Damien Hirst’s shark in formaldehyde seem like a John Constable painting and Tracey Emin’s unmade bed seem like a perfectly normal idea.

And it wasn’t just the acts that were odd last night…

For the first third of the show, a very large black man with one eye, a speech defect, a shaven head, a beard and what appeared to be an MP3 player plugged into his ears sat in a gold costume alone at a table right in front of the stage.

Before the show started and for most of Part One (it was a three-part show), he fiddled obsessively with three flattish oblong white cardboard boxes which contained wooden-framed pictures of what appeared to be wood cuttings. He would take them out and put them back in, look at them and stand them on the table facing the rest of the audience and arrange and re-arrange them. He was very interested in them. And in the show. On which he occasionally commented. He was almost a performance artist in himself.

I thought maybe he was deaf and the MP3 player was a hearing aid – or maybe he was mentally retarded. Or maybe he was an act; even though I knew he wasn’t.

He must have been bemused or confused when, right at the very start of the show, compere-for-the-evening Vivienne Soan explained her husband Martin Soan was at home but then he appeared naked, behind her, with a brown paper bag over his head. She appeared not to notice him.

And then he must have then been further confused when compere-for-the-evening Vivienne Soan introduced compere-for-the-evening Charmian Hughes who did some topical material and a sand dance which the large man much appreciated and then compere-for-the-evening Charmian introduced compere-for-the-evening Holly Burn.

Holly Burn is a girl for whom the word “surreal” is a wild understatement; it would be like calling the one billion population of China “a man from the Orient”. She is billed on Pull The Other One’s flyers as “Bonkers But Brilliant” though, off-stage, she is only the third B in that billing.

On-stage is another matter.

She introduced the almost equally odd ‘magician’ Sam Fletcher (it was really a surrealist act), American comic Matt Baetz (the token stand-up on the bill) and then Holly (or perhaps by this time Vivienne Soan was compere-for-the-evening again) introduced two-minutes of vitriolic abuse shouted at the audience by The Obnoxious Man (played by Tony Green, of whom more in tomorrow’s blog)

This took us to the first interval of the evening, during which the very large black man with one eye, a speech defect, a shaven head, a beard and what appeared to be an MP3 player plugged into his ears decamped from his table, taking two of his three frames with him and wheeling a child’s scooter in front of him. I could see the woman sitting at the next table to him breathing an almost visible sigh of relief.

Part Two involved Holly Burn (or perhaps by this time Vivienne Soan was again compere-for-the-evening) introducing charismatic compere-for-the-evening Stephen Frost who introduced the amazingly sophisticated Earl Okin as “a sex goddess”.

Earl, even more so than normal, went down a storm with an audience primed by 40 minutes or so of surreal comedy and who now had unleashed on them his highly sophisticated crooning, jazz, satiric folk music and a version of Wheatus’ song I’m Just a Teenage Dirtbag, Baby sung as a bossa nova. The result, before my eyes, was a British comedy audience transformed into some kind of energetically-enthusiastic whooping American TV audience.

Boy, did they enjoy Earl Okin.

In the second interval, I went to the toilet and encountered the very large black man with one eye, a speech defect, a shaven head, a beard and what appeared to be an MP3 player plugged into his ears. It turned out he didn’t quite have a totally shaven head. He had a slogan which I could not quite read shaved in hair around the back of his head.

He was back in his place for Part Three at his table by the very front of the stage.

Now…

I have seen American comic Doctor Brown (not to be confused with Doc Brown) several times and, to be frank, his act can be a bit hit-and-miss. Well, it’s not so much an act. It’s more a let’s-go-on-stage and see-what-might-happen-with-the-audience performance. On the basis of last night, he should team up with the very large black man with one eye, a speech defect, a mostly shaven head, a beard and what appeared to be an MP3 player plugged into his ears.

Doctor Brown’s schtick involves a certain nutty reticence to perform which, last night, meant a certain reluctance to come on stage at all and the very large black man with one eye, a speech defect, a mostly shaven head, a beard and what appeared to be an MP3 player plugged into his ears took it upon himself to encourage Doctor Brown, whom he assumed was a genuinely shy performer.

“Come on, you can do it,” was one early comment. “Come on stage, man, you can do it.”

The good Doctor played to this and – rather bravely, I felt – decided to incorporate the gent in his act which eventually culminated in his – even more bravely – inviting the guy up onto the stage.

It turned out that the very large black man with one eye, a speech defect, a mostly shaven head, a beard, a gold costume and what appeared to be an MP3 player plugged into his ears, in fact, did not have an MP3 player plugged into his ears at all: it was a doctor’s stethoscope which he wore round his neck and, at his throat, he had a four-inch high bright white skull ornament. His below-the-knee gold costume was augmented by red hobnailed boots

Doctor Brown proceeded to auction off the doctor’s stethoscope and skull to the audience, though he actually stopped short of giving away the items. He also got perilously close to squeezing a bottle of Heinz tomato ketchup over the guy’s shaven head or allowing the guy to squeeze it over his head. I have a terrible feeling he almost went through with this idea but pulled back from the unknown precipice at the last moment.

By this point, I was crying with laughter.

Non-PC?

Oh yes. And the whole audience was laughing. And the guy on stage with Doctor Brown. And the other comics more than anyone.

Trust me. You had to be there.

After the very large black man with one eye, a speech defect, a mostly shaven head, a beard, a gold costume, red hobnailed boots and a doctor’s stethoscope left the stage, Doctor Brown turned to the audience and said simply:

“Does anyone have any questions?”

He then produced a robin redbreast bird (don’t ask) which he talked to, then unzipped the flies of his trousers and partially inserted the bird, head first. He turned his back on the audience and climaxed his show by being sucked-off by the robin redbreast.

The good Doctor then exited to much applause, having dropped the robin onto the stage.

Martin Soan then appeared on stage to retrieve the robin, to which he talked lovingly until Doctor Brown returned to demand the bird back. A vitriolic argument ensued about who had more rights to and more of a personal history with the robin, which ended with a rough tussle between the two men on the floor and Martin Soan somehow ending up naked on stage with a brown paper bag over his head.

We were back at the start of the evening, at which point Vivienne Soan rounded it all off by announcing future Pull The Other One shows at the Half Moon in Herne Hill will include John Hegley, Simon Munnery and the extremely surreal Andrew Bailey.

Andrew will have his work cut out to top last night’s bizarre shenanigans.

In tomorrow’s blog – what Tony Green told me at Pull The Other One about Andy Kaufman, another dead comic; and the tale of our visit to fetish club Torture Garden.

I saw a repeat of The Story of Variety with Michael Grade on BBC TV recently. The argument was that variety is dead. Michael Grade (unusually) was wrong. Two things yesterday proved this to me: the Royal Wedding and a monthly Pull The Other One comedy show in Peckham, home of Only Fools and Horses – no connection with the Royal Wedding.

At school, I took British Constitution for ‘A’ Level so i am a very strong supporter of the institution of a constitutional monarchy, but I have absolutely no interest at all in the soap opera of the Royal Family. If left to my own devices yesterday, I might have switched on BBC1 to see the RAF fly-past at the Royal Wedding and perhaps I would have watched the drive back from Westminster Abbey to Buckingham Palace in case anyone got assassinated.

As it was, I was with a friend who is a feminist republican. (Note, if you are an American reader, a republican is almost the opposite of what you might think: more left wing than right wing).

Of course, like almost all British republicans, she is obsessed with reading about and watching the Royals and following the soap opera and I had to sit through the whole thing on TV.

We had recently sat through Lindsay Anderson’s surreal movieIf…. together and yesterday, when it got to the marriage bit where camp-looking churchmen in kitsch golden dresses were intoning sleep-inducing words and the congregation was awash with politicians, Royals, the upper classes and Elton John, I half expected Malcolm McDowell to appear high up in the Abbey among the gargoyles desperately firing an AK-47 at the congregation who would flood out the doors of the Abbey into Parliament Square where mortar bombs would explode.

Perhaps my mind wandered a little.

But men intoning the word of God in funny costumes always stimulates the surreal nodes in my brain.

My friend did make the interesting point that, apart from Kate Middleton, the colourful service was an entirely male affair apart from two nuns sitting to one side dressed in drab grey among the men in bright colours and the presumably-repeatedly-buggered choirboys in white surplices. It looked to me like the two nuns had been hired from Central Casting. One was unnecessarily tall and the other was unnecessarily small. It was like watching that classic comedy sketch where John Cleese is upper class and Ronnie Corbett is working class.

I am Sister Superior; I am taller than her and nearer to God… and I am Sister Inferior; I know my place.

Even when they sat down, the tall one was twice the height as the small one – that never normally happens. I began to fantasise about special effects and trapdoors in the pews.

The real pisser for me, though, was that the BBC TV director managed to miss the shot of the Lancaster, Spitfire and Hurricane flying down the length of The Mall. That was the only reason I was watching the thing – other than the possibility of visually interesting assassinations – and it was almost as bad as ITN missing the Royal Kiss on the balcony when Charles married Di.

Everything else was so impeccably stage-managed, I couldn’t understand why they missed the shot. I particularly loved the trees and random greenery inside Westminster Abbey though I found the chandeliers distracting. I don’t remember chandeliers inside the Abbey. Did they come with the trees as part of a special offer from B&Q?

The Royal Wedding guests included Elton John, an invisible Posh & Becks and the distractingly visible two nuns.

In the evening, I went to the monthly Pull The Other One comedy show in Peckham, which similarly attracts performers who come along to see the show but not to participate. This month it was writer Mark Kelly, actor Stephen Frost and surreal performer Chris Lynam. As I have said before, you know it is a good venue if other performers come to see the shows.

Pull The Other One is not a normal comedy show in that its performers are almost entirely speciality acts not stand-up comedians. If you need a break from reality, I recommend Pull The Other One as a good place to go. And the compering is usually as odd as the acts.

With Vivienne Soan on tour in Holland, the always energetic Holly Burn – the Miss Marmite of Comedy as I like to think of her – compered with Charmian Hughes and the latter performed an Egyptian sand dance in honour of the Royal wedding. Don’t ask, I don’t know, but it was very funny.

Magician David Don’t – who had variable success last month when he used blind-folded members of the audience throwing darts at each other – unusually succeeded in an escapology act involving a giant Royal Mail bag, although it’s the last time I want to see a banker with no clothes on and a Union flag coming out of his groin.

And, to round off the evening Matthew Robins, with ukulele and accordion accompaniment, performed a shadow puppet story about murder and mutilation and a visit to the zoo. It is rare to see a shadow puppet show about someone getting his fingers cut off with pliers, his sister hanging from a rope and the audience spontaneously singing along to “I wanted you to love me, but a snake bit my hand…”

But it is more interesting than watching the Archbishop of Canterbury with his grey wild-man-of-the-desert hair wearing a gold dress and a funny pointy party hat in Westminster Abbey.

Pull the Other One – on the last Friday of every month – is never ever predictable and Stephen Frost, keen to appear, lamented to me the fact it is fully booked with performers until November.

Most interesting line of the evening – of the whole day, in fact – came from Earl Okin, who pointed out what a historic Wedding Day this was…

Because it was exactly 66 years ago to the day when Adolf Hitler married Eva Braun.

There seem to be two separate ‘circuits’ in London at the moment: the amorphous alternative comedy circuit and the burlesque circuit. The latter seems to meander from stripper-type-tease to glimpses of old-style variety to fetish-style stuff with more than a nod to Berlin cabaret between-the-Wars.

Most of the straight comedy shows nowadays are a just a string of stand-ups with maybe, occasionally, an odd act thrown in. Vivienne and Martin Soan’s monthly Pull The Other One club in Nunhead (that’s Peckham to me and you) is clearly not burlesque; but it is not one of the amorphous straight comedy nights either.

It is old-style variety mingled with comic performance art plus usually one big-name straight stand up. It is never short of the unexpected and bizarre, so it’s no surprise that Pull The Other One regulars Bob Slayer and Holly Burn both appear in the April issue of Bizarre magazine as New Alternative Comedy Heroes.

The average Pull The Other One show does not exist and it is a sign of how unusual it is that it has always attracted comedians to its audience. Last month Boothby Graffoe was there in the audience just to enjoy it; this month it was Stephen Frost.

The Big Name stand up on the bill last night was multi-talented Omid Djalili, a man who can move with nary a blink from appearing in Gladiator, The Mummy, Pirates of the Caribbean and James Bond movies to club gigs on the London comedy circuit to playing Fagin in Oliver! at the London Palladium and having his own TV series on BBC1. His career is almost as variety-filled as a Pull The Other One show.

I missed most of last night’s show because main speciality act Paul Morocco had got cut down earlier in the day with a very serious stomach bug and couldn’t appear – well, it’s a tribute to his professionalism that he would have appeared if Vivienne Soan had not been able to find a fill-in sharpish. But Paul’s amazing act includes juggling, a lot of bopping around and blowing/juggling multiple ping pong balls from his mouth. This is not ideal if you have a serious stomach bug and just want to lie in bed and die with the pain.

So I missed most of last night’s show because I was picking up and driving my chum Melbourne-based Irish fiddle-playing comic vagabond Aindrias de Staic from the West End to Nunhead after he appeared in two performances of Woody Sez at the Arts Theatre in London’s West End. Aindrias is not so much jet-lagged as show-lagged. He is over in London to appear in Woody Sez until 2nd April – another two shows today – and tomorrow he performs his one-man show Around The World on 80 Quid at the Pleasance Theatre in Islington.

So last night, at 9.35, we were legging it to my car to get to Pull The Other One in time – parking mid-evening on a Friday in the West End had not been fun.

Aindrias decided in the car on the way to the venue what he was going to do: mostly stand-up stories with an inkling of fiddling… but, when he actually got there and realised the measure of the audience, changed it all.

He gave them a bit of a foot-stomping fiddle, then a bizarre story and a couple more musical items.

Well, that doesn’t quite do it justice.

He had had a 20-second chat with Martin Soan before he went on and they ad-libbed what then happened.

Aindrias was interrupted during his second diddly-aye foot-stomping Irish fiddly piece by Martin Soan – totally naked, of course – Riverdancing in from the wings behind him and, trust me, Irish dancing in the nude is a particularly visual entertainment.

There’s a lot of flopping up and down going on.

When this went down very well with the audience, Aindrias called Martin back on stage to do a reprise “bollock dance” to the Jew’s Harp accompanied by a rather dubious song which Aindrias improvised.

Aindrias called what was happening “gyp-hop” – a musical combination of gypsy and hip-hop.

Watching this, Stephen Frost said to me: “If only Malcolm (Hardee) were here to see this.”

Yesterday, in response to my blog mentioning farteur Mr Methane, Jackie Hunter, former features editor of The Scotsman newspaper, reminded me that early 20th-century artist Maxfield Parrish painted a fart into a mural that now adorns the famous King Cole Bar in New York’s St Regis hotel. I have to agree with her that painting a fart is quite an achievement.

Yesterday was a funny old mixture of a day because British comedians are now planning for the Edinburgh Fringe in August. Going to the Fringe, like having a baby, is a nine-month project involving a lot of nausea, pain and uncertain results.

Charlie Chuck phoned me about his planned return to Edinburgh which sounds suitably unusual and the extraordinarily multi-talented Janey Godley, not planning to play the Edinburgh Fringe this year but just about to go to the Adelaide Fringe, told me about two possibilities she has been unexpectedly offered in two totally different media. From Janey, the unexpected comes as no surprise.

In the afternoon, I had to take a friend to the Queen Elizabeth Hospital in Woolwich which, for reasons I can’t begin to fathom, is surrounded by a high Grade A security fence which makes it look more like a Stalag Luft Queen Elizabeth II escape-proof prison camp in World War II or a Ministry of Defence site in the Cold War.

In the evening, I went to Vivienne & Martin Soan’s monthly Pull The Other One comedy club at the beleaguered and now closed Ivy House pub in Nunhead. The venue was re-opened specially for the night to stage Pull The Other One with this month’s headliner Jo Brand.

Vivienne & Martin now have their next six shows arranged but with no definite venue and are looking round, although they would prefer to stay at the warmly ornate and atmospheric mirrored ‘golden room’ behind the Ivy House bar. One local alternative might be The Old Waiting Room at Peckham Rye Station.

Comedian and novelist Dominic Holland, making his second appearance at Pull The Other One called it “the weirdest gig that exists,” which it surely is. The format is about two hours of variety acts and two stand-up comics. Unusually, nowadays, the bizarre variety acts – far be it from me to name-drop Bob Slayer and Holly Burn – are as important to the feel of the shows as the stand-ups.

Afterwards, Dominic told me that his 14-year-old son Tom Holland, recently on stage as Billy Elliot in the West End, is currently in Thailand filming a lead role in major Hollywood blockbuster The Impossible. I thought Dominic was probably ‘talking up’ this film out of fatherly pride until I looked it up on IMDB Pro and found it is a big-budget tsunami disaster movie “starring Ewan McGregor and Tom Holland” and is one of the “most anticipated films of 2011”.

Other shocks of the evening were that the much talked-about cult comedian Dr Brown has got an entirely new character act in which he actually moves and talks semi-coherently. And I heard that legendary ‘open spot’ act Jimbo – he seems to have been doing open spots as long as Cilla Black has been acting-out the role of ordinary woman next door – is now getting paid gigs, has allegedly changed into a (different) character act and is perhaps going to the Edinburgh Fringe. If he won an award as Best Newcomer at the Fringe it would be very funny and would be a triumph for Brian Damage of Pear Shaped, who has long championed Jimbo and other – even by my standards – very, very bizarre acts.

A very funny night at Pull The Other One ended very entertainingly but totally unsurprisingly with nudity. There were even some calls for The Naked Balloon Dance of fond memory.

Meanwhile, out in the real world, Tunisia continued to stumble around like a blinded meerkat towards potential anarchic chaos and tanks were rolling around Cairo to prevent what threatened to be a popular uprising.

Is it my imagination or have things deteriorated badly in that area since the United Nations, evidently an organisation with no sense of irony, appointed Tony Blair as Middle East Peace Envoy and why is it I never actually see any pictures of him in the Middle East?

Could it be he’s just too busy talking to God and this week, according to The Times, signing a six-figure deal to make four speeches for a hedge fund which made around £100 million by betting on the collapse of the Northern Rock bank in the UK?

This was shortly after the Daily Mail reported that he got £300,000 for making one speech for banking giant Goldman Sachs, while he had a £2.5 million deal as “advisor” to JP Morgan, who, according to London’s Evening Standard, won a contract to set up an Iraqi bank in the wake of the US-led invasion.

Which gets us back to the subject of Mr Methane and farting around the world and brings up the possibly pertinent question:

On Saturday night, Vivienne and Martin Soan‘s regular monthly London club Pull The Other One was playing their second irregular show in an interestingly packed Macclesfield Town Hall.

Interesting because it did not strike me as a regular comedy audience. They appeared to be a middle-class, middle-aged, middle-of-the-road audience just out for a good time on a Saturday night. They could have been there for an Agatha Christie play by the local Rep; they could have been there for a Michael McIntyre show. Fair enough.

What surprised me, then, was that they really seemed to appreciate the always very very bizarre, surreal comic, musical and visual talents of Andrew Bailey – who seems never happier than when he has a rubber glove on his head – and the Marmite-odd performances of Holly Burn.

Both are really beyond Alternative comedy; both would have been watched in stunned incomprehension 15 years ago (and Andrew Bailey was); but both were now accepted and appreciated by what seemed to me to be a very mainstream audience. Surprising and somehow reassuring.

But, then, the show had started with full-frontal nudity from Martin Soan with a brown paper bag over his head – so they had a hint up-front it was not going to be a Michael McIntyre show.

This Pull the Other One show in Macclesfield on Saturday night was so odd that when I went to see the first annual Pantomime Horse Race in Greenwich on Sunday afternoon, it seemed a perfectly reasonable and sane event.

Although, in the gents toilet of one Greenwich pub, the normal condom vending machine was joined by another wall-mounted vending machine selling a Viagra substitute, inflatable sheep and inflatable guitars.

Condoms are perfectly normal in a gents toilet vending machine… Viagra is fine… inflatable sheep I can cope with… but inflatable guitars as a sex aid ???? Have I missed a rising perversion ???